Idomeneo

22 May 2011

Benedikt von Peter's new staging of Idomeneo avoids controversy in the usual sense - the cast are fully clothed and there are no drugs, guns, or bodily fluids on show. But, almost unnoticed, he does away with two of Mozart's lesser characters, Arbace and the Priest. Their music is reassigned to Elektra, here a vengeful voice in Idomeneo's head. He is not the victorious monarch returning to Crete in triumph, but a traumatised war veteran living between imagination and reality. His son Idamante is married to Ilia, and they now have their own small son. Instead of exploring the nature of rule and the consequences of rebelling against divine authority, Peter personalises the issues the opera raises to make it a timely examination of the price of victory in war.

08 June 2010

Roll up, roll up, it's Katie Mitchell and her one-size-fits-all production concept, or as ENO generously put it, "unique directorial style". The victim this time round is Idomeneo. Perhaps people are wising up - at any rate, ticket sales are slow, so a number of deals are available.

All are offering best available dress circle tickets for £20 and upper circle for £10 (plus booking fee) on 18, 23, 25 and 30 June and 2, 6 and 9 July.

17 May 2008

Technical excellence isn't everything. Musically, this concert performance of Idomeneo was rough as a badger's behind. Fabio Biondi, conducting a breakneck pace with violin in hand, failed on several occasions to bring his small band in on time, or to hold them together. Intonation was frequently doubtful in the string section; near-criminal in the brass. But enthusiasm goes a long way, and Mozart in any case demonstrated his usual resistance to the assaults of imperfect execution. The sheer verve of the performance gave it a warmth and charm that more polished approaches often lack (and awww just look at the harpsichordist's score, above).

Ian Bostridge was the motor behind the show, part of his Homeward Bound series running throughout the Barbican season. He's not a singer who melts readily into whatever character he's playing, and the role of Idomeneo would have benefited from more poise and warmth. But however dramatically questionable, his singing was often deeply affecting, and his (very difficult) second act aria Fuor del mar was perfectly judged and exquisitely sung.

Kate Royal provided some Grecian flavour to her part as Ilia in a draped cream goddess gown (marks deducted for visible bra straps). Her intonation was secure and her tone serenely radiant, notes cautiously but elegantly laid in place. The problem for me was her offputting habit of inflecting by gasping and panting in between notes, something that eventually became far more noticeable than the line it was disrupting.

Emma Bell, the fiery Electra, looked fabulous with her new short-fringed bob and red strapless gown. She made the most of her dramatically redundant but musically riveting role with a thrilling and well-received high-drama, mega-vibrato performance, more in the style of late Verdi than early Mozart. It may have been an anachronism, but it made perfect musical sense. Anyway it slotted in neatly with the various vocal idiosyncracies on display elsewhere.

The most conventionally Mozartean singing came from Jurgita Adamonyte as Idamante, poised, focussed and pure of tone. Despite being a late replacement for the advertised Christine Rice, she gave every evidence of thorough and intelligent study of the role, all her expressive choices seemingly the perfect ones.

The tenor Benjamin Hulett completed the list of principals as Arbace. He reminded me of Toby Spence in his straightforward and versatile vocal quality - also in the fact that he looks about half his age.

The weakest link was the chorus, who I understand were pulled together just for this performance. On the plus side, their enunciation was exceptionally clear and their ensemble near-perfect. But there was scarcely any sign of life from them until the last act, in dramatic contrast to the vigour of Europa Galante.

It was a strange and quirk-packed evening, far from immaculate technically, but for the most part entirely riveting. Proof perhaps that not everything needs to be perfect to be great.